Radiohead is no stranger to anxiety. A tense tone—like a taut cord reverberating—runs through the high-energy opener “Burn the Witch,” from their latest record, A Moon Shaped Pool. Thom Yorke’s delicate wail floats over the brazen guitar and strings as the tempo speeds up and the anxiety mounts.

Mangy Love, Cass McCombs’s latest, is one of those records where an artist makes the most compelling argument for their sound and content possible. During his career, McCombs has eschewed interviews and the kind of lifestyle-sensationalizing journalism that usually surrounds music coverage.

Jimmy Fallon might not have challenged Trump much during the presidential nominee’s recent appearance on TheTonight Show, but the Roots got in a pretty great dig of their own as the man in the famous toupé crossed the stage.

Otis Redding’s 1966 performances at the Whisky A Go Go marked the first soul act on the famous LA stage and a purposeful attempt to widen his audience. They also produced some incredible live recordings that are finally being released this October via Stax Records, on the six-volume Live at the Whisky A Go Go: The Complete Recordings.

S U R V I V E, the group behind the perfectly creepy electronic score to Stranger Thing’s nostalgic horror trip, has often credited their work with a heavy influence from synth greats Tangerine Dream: “a lot of times I’ll just get stuff if it’s got a Goblin or a Tangerine Dream score and just see what it sounds like,” the band has said.

On the 20th anniversary of Tupac Shakur’s recorded death, the music community is still asking the question: did that really happen? At Consequence of Sound, Alex Young makes the case for Shakur’s survival (and second life in Cuba).

Whatever you believe, Morgan Creek Productions commemorated the day by releasing a new trailer for the long-awaited biopic on the rapper’s life, All Eyez on Me, directed by Benny Bloom—watch the clip after the jump.

The Reverend Al Green’s fifth album, I’m Still In Love With You, appears at the top of many critics’ rankings, including that of the Village Voice‘s longtime writer, Robert Christgau. And for good reason. The second track of this mesmerizing record is the silky smooth, organ-punctuated “I’m Glad You’re Mine.” Green’s drummer, Al Jackson, Jr.—who built his reputation for rhythm as a session musician at Stax Records—holds down a beautifully laconic, almost lazy backbeat, and a rolling Hammond organ helps to show why the song deserves to be known as a staple in the soul canon.

We were excited about Teenage Fanclub’s upcoming tenth album back when it was just a fact on a calendar, and now the reality is, thankfully, really beautiful. Here is being called “their warmest and subtlest effort to date,” and showcases a familiar pop sensibility for the band’s first effort in six years.

As a prelude to the upcoming third season, the utterly perfect soundtrack to the original Twin Peaks has been remastered and is now out on vinyl from Death Waltz Recordings. The reissue features liner notes by Angelo Badalamenti, the composer who helped create David Lynch’s iconic eerie smiling moodscape.

Virginia Hanlon Grohl is writing a book about rockstar parenting due for release in April 2017 from Seal Press. The material will be drawn from her experience raising Dave Grohl, as well as from interviews with other rock moms including Marianne Stipe (Michael Stipe), Verna Griffin (Dr.

In the pocket. It’s the only way to describe the slithery pulse of the bass and rhythm section in D’Angelo’s slow ballad “One Mo’ Gin,” off his explosive soul album from 2000, Voodoo. D’Angelo—otherwise known as the mild-mannered Michael Eugene Archer—keens with loneliness and nostalgia on “One Mo’ Gin,” layering his buttery falsetto over the heavy groove laid down by Welsh bassist Pino Palladino and drummer extraordinaire, Ahmir “?uestlove” Thompson.

Although the performance was over a month ago, a gorgeous video of FKA twigs’s set at the Pitchfork Festival in Chicago was recently released online. The artist has not performed much beyond the festival circuit this summer, meaning if you, like us, tend to avoid large crowds, this video is worth a watch.

In 2004, the indie group known as Beach House considered calling itself “Wisteria.” But once they “stopped trying,” according to guitarist Alex Scally, their ultimate name choice floated to the top, and “it was perfect.” Scally’s ability to let go and embrace the moment is a vital piece of the dreamy, atmospheric pop that he creates with vocalist and sole bandmate, Victoria LaGrand.

The Russian trio’s self-proclaimed “disturbing and depressive” apocalyptic electronic music has hit an incredible, eerie place with PHOENIXXX, one of their seven (!) releases from 2016. Members Lit Daw, Lit Eyne, and Lit Internet met via the web, beginning their collaboration over an encrypted messaging service to evade the censorship of the post-Soviet russian landscape that their music explores so masterfully.

If you make a visual album and get nominated for crazy amounts of awards, you should probably honor your performers. Beyoncé gets this (or her people do, which is close enough to the same thing), once again proving that she stands apart as an unbelievable performer and public figure.

We regularly turn to Aquarium Drunkard for its mixtapes, and this week the site has released another perfect moodscape for the season. The Palm Tree Falls into the Sea: An August Mixtape is the end-of-summer jammer you’re searching for, with songs from Alice Coltrane, Penguin Cafe Orchestra, Chuck Berry, the Raincoats, Lucinda Williams, Arthur Russell, Brian Eno… just listen; it’s perfect.

When thinking about the importance of house music, the dance that it created—and that inspired the genre’s evolution—is less often discussed. Chicago’s footwork crew The Era is doing what it can to call attention to the significance of its style as art form and as cultural celebration.

“I feel like [music] can serve functions that used to be served by things that were religious,” says electronic musician Devon Welsh. Compelling words from one half of the art pop duo Magical Cloudz, whose 2013 record Impersonator communicates a pious respect for the creative process.

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